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PAPER Ⅲ SURVEV:FROM THE ViCTOR:AN‐ AGE T0 1940

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f.力χおルr Sr2の 加D′ralJ PAPER‖ :BR:TiSH L:TERATURE SURVEY IS E‖ ot Murder in The Cathedral FROM THE ViCTOR:AN AGE T0 1940 2.2xお ル ″G′″´rar S餞ゥ G B Shaw St.Joan Max Marks:120 」.M Synge Riders to the Sea Sean O'Casey Juno and the Paycock A POETRY Cristopher Fry The Lady is not for Burning f.■潔Jars滋 のiZ`′ガJ C.PROSE AND FlCT:ON Alfred,Lord Tennyson "The Lotos Eaters" Robert Brown!ng "Andrea Del Sarto" l. Texts for Sturly in detail "" Virginia Woolf Modern Fiction Thomas Hardy "The Darkling Thrush" 2. Texts for General Study G M Hopkins 1 . "The Windhover" Matthew Arnold Pretace to 1853 poems 2. "No Worst, there is none" Emily Bronte Wuthering Heights W B Yeats 1."Easter1916" Charles Dickens Hard Times 2. "Among Schoolchildren" George Eliot The Mill one the Floss 3. "Byzantium" Thonas Hardy Mazor of Casterbridge IS E‖ ot "The Love-Song of Alfred Joseph Conrad Heart o, Darkness "Little Gidding" James Joyce A portrait o{ the Artist as a Young Man W H Auden "The Shield of Achilles" D.H.Lawrence Sons and Lovers 2.ル名おル (ル り Virginia Woolf To the Lighthouse 「 "araI Sa“ Robert Browning "Porphyria's Lover" Arno:d "The Scholar-Gypsy" c M Hopkins "Felix Randal" W B Yeats "Lapis Lazuli" Break up: 4 Annotations + 3 Essays + ssh. notes + 1O obj. Wi!fred Owen "Futility" (8 x 4 + 20 x 3 + 6 x 3 + 10 = 120' IS E‖ ot "The Waste Land" 」ohn Beteman "Green Away" W H Auden "ln Memory of W.B.Yeats" Louis Mac‐ Neice "The Sunlight on the Guardian" Stephen spender "The Express" ／ ヽ ― 「 、 5 6 proceeds, Andrea meditates on his life, on his art, on his love lor SECTION A - POETBY her and on her treatment of him. Lines 1-20 ANDREA DEL SARTO Andrea is apologetic and implores his wife not to quarrel any more. He assures her that he is willing to paint a picture for ROBERT BROWNING her 'friend's friend'the next day and that he will abide by the Browning selects his subiect from all ages history and of sublect, time and even the price chosen by that friend, all that he lrom various phases of human aciion, character and passion. Like wants is to sit by the window, holding her hand in his ('as married many o, his works,'Andrea Del Sarto'reveals his interest in ltalian people use') and to look towards Fiesole (a small town on a hill Renaissance and art. The poem was wrilten in reply to a friend's iop near Florence), quietly for just an hour. lf she gives him this request for a photograph of Andrea del Sarto's self-portrait in the privilege, he might get the enthusiasm and joy to do the painting Pitti Palace, Florence and is based on the account of the painters which would fetch her the money she needs. life as given by Vasari in his'Lives of the Painters'. The setting is carelully chosen. The tone is subdued and Andrea del sarto (called the 'Iaultless painter') a Florentine autumn evening reflects the mood of the aged and deleated An- born in 1486 was known for his technical master. He married drea. His excessive love lor his beautiful young wife, who cares Lucrezia del Fede, whom he loved all his life and for whom he only for money and his readiness to degrade his art for her sake sacrificed everything, but who proved be his undoing. He also to are hinted at. used her as a model for his Madonas and other painlings. He was Lines 21-34 invited by Francis I to the French Court and there painted some of his best pictures. Although he was successful and in royal favopr, Andrea is enthralled by the perfect physical beauty of his worldly wife tempted him to return to Florence, where he built Lucrezia and luxuriates over it. As Andrea holds the soft hand of a house for himself and his wife out of the money given to him by his wife, he imagines he is embracing her. ('Your soft hand is a the King to purchase pictures. Because of his weakness of will woman of itself). He calls her 'serpentining beauty, rounds on and his excessrve love ,or his wife, Andrea submitted himself to rounds', because serpents with their tails in their mouths (i.e. cir- every whim of his wife, knowing fully well that she was indifferent cular in form) are symbols of perfection. (The irony that she is to his art and was even unfaithlul to him. Andrea died of plague in deceitful like a serpent, who has entwined herself round him is 1530, deserted by his wife and disappointed at his lailure as an also implicit). He calls her' My face, my moon, my everybody's artist. moon'. Though she belongs to him, he is aware that he has no Browning's poem is in the lorm of a speech by Andrea ad- exclusive right over her. Everyone looks at the moon and loves it. dressed to his wife Lucrezia. He is an aging and disappointed man, The moon [n turn looks on every one, but loves no one in particu- looking out over Florence from his studio. lt is an aulumn evening, lar. Though Lucrezia is loved by many, she is incapable ol genu- particular, which is in tune with Andrea's mood of weariness and sterility. We ine love for anyone in least of all for her husband. break in upon the last words of a quarrel for money and Andrea's Lines 35-52 pathetic request to her to bear with him for once. As the poem These lines blend the autumnal twilight v/ith the twilight of 7 8 the painter's hope and aspirations. Lucrezia's pride in him has dis- ists and himsell. While others are easily excited, he is unmoved appeared and everything about him is toned down like the grey as the mountain itself. His paintings, though faultless, are not in- that suffuses nature outside. The autumn landscape is gloomy, spiring and he attributes his failure to his love tor Lucrezia. quiet and there is a sense of foreboding. Days become shorter The essenue of Browning's philosophy is contained in the and Andrea realises that there is autumn in everything. The toiling lines: bell, the chapel's tower, the convent hall, the solitary monk and 'Ah, but a man's reach should exceed his grasp, the growing darkness - allthese suggest the quite, sombre evening Or what's a heaven Jor?' almosphere, which Andrea finds within himself too, 'a twilight piece' The very idea of Heaven implies unattainable perfectic as he€alls it. He seems his entire life and works a failure, which One's failure while trying to achieve the impossible is nobler than ― now await final dissolution. He, however, attributes his failure tL タ the success or attainment of limited aims. Andrea's tragedy, ai God. 'Love, we are in God's hand' and that gur freedom of action he himself realises, is the tragedy ot powers unstretched to tli. is only an illusion, he tells Lucrezia, who is not even listening to uttermost. He knows what to achieve and how to achieve it. But him. he does not have the will, the drive, to pursue it. He is aware of his Lines 53-87 moral and spiritual inadequacy. His soul is wholly devoted to Andrea tells Lucrezia how technically perfect his paintings Lucrezia and hence his failure as an artist. are and how easily he can draw them. He draws the attention of Hnes 104 - I3I the unwilling Lucrezia to some of his paintings and talks of his Andrea points to a painting by Bafael and talks of the high extraordinary skill. He can very easily accomplish what others can ideals which inspired him to paint it, though it may have some only dream of lnspite of hard work they can never reach anywhere physical defects here and there, lhe soul or the spirit is unerring[r near him. He mildly reproaches herthat she has no idea the trouble oaptured. But all the play, the insight and the slretch, which ● the other artists take to paint the trifle which he did so easily and characterises Rafael's paintings are out of him. (Rafael is called which she spoiled so carelessly by allowing her flowing dress to 'Urbinate', as he was born at Urbino and was one of the greatest take away a part of the wel paint. But then, he lacks the fire and artists. He was a contemporary oI Andrea.) Andrea alter:,..iely spirit of great artists. ":Less is more' he sadly muses. Achieve- blames Lucrezia and himself tor his inability to rise to ri'e level of ments, which fall short of complelion, because their aim is high, is Ralael or Michelangelo. Had she possessed the beauty of thb mind, greater than achievements which have attained completion by aim- along with her physical beauty he could have dorrc works of last- ing low. The productions oI other artists may be inferior to his in ing value. Andrea compares himself to a bird and Lucrezia to the technical mastery, but theirs are nobler because of their high ide- fowler (the bird-catcher). Like a bird; he was caught and enslaved als and aspirations, even if they fail to achieve them. They are through deceit and deception. Andrea., fiowever, checks himself superior because they are divinely inspired and posses the cre- and blames himself and God for what happened. Andrea's mood, ative imagination. 'My works are nearer heaven, but I sit here'he we find, varies from mild reproaek to Lucrezia to self pity. laments. Lines 132 - 144 Lines 88-103 He sees no reason to blame his wife for his failure. Once Andrea continues to make a distinction between otirer art- 9 t0 again, he becomes a faialist and blames God. Moreover, inspira_ and calls the hour with her well spent. ('This hour has been an tion should come from within and not from outside. The world is hour'). peopled by half-men; those who have either the will power or those Lines 208 - 243 who combines in himself both the will to do great things and the Darkness has descended and Andrea asks Lucrezia lo come talents of achieve them. He feels that if God,s judgement is just, into their 'melancholy little house'built with the tainted money of he stands to gain as he has been underrated and despised here the King. lt is indeed an instance of tragic irony, that lust when on earlh. 'All is as God overrules,says he, resigning to his fate. Andrea pours out his soul and implores her to love him ('Let us but Lines 145 - 165 love each other'), she hears the whistle of her "cousin" and pre- Andrea, so full of sell-pity, now talks of his miserable condi- pares to go. The series of questions asked in quick succession tion, the dishonesty he showed to the King of France makes him show his heart-rending pathos. He once again promises her that ashamed ,kingty of himself. This leads him to think of the days, he he would work hard the next day to pay for the gambling debts of had spent in Fontainebleau in the midst of the admiring King and her lover. his courtiers and stimulated by the greater reward awaiting him in Lines 244 - 267 Florenoe (i.e. Lucrezia). Andrea here alludes to the misuse of the Andrea has no illusions and is resigned to his lot' He is king's money. lnstead of buying art treasures, he built a house in troubled by the ingratitude he showed to king Francis and his neg- Florence with that money, for Lucrezia and himself to live in. ligence of his parents. But he tries to iustify his action and tinds Lines 166 - 182 excuses. Lucrezia's love is all that he yearns for not only in this Andrea responded to the urgent summons of Lucrezia ancl world, but even in the next world. The cousin's whistle is heard returned to Florence, thereby destroying all his chances lo fame again and Andrea ends his reflection with the significant words and glory. He however does not regret his action because he is .'Go, my Love. The pathetic and discbnsolate husband who has like a weak-eyed bat,. which cannot endure the sunlight. He fol- sacriliced everything - his youth, his ambition, his fame and glory low6d his instincts and returned home to be with Lucrezia, whom - for his wife and who continueeto dote on her, gives her leave to hs considers adequate compensation and the triumph of his life. go and meet her lover. The words'Go, my love' ('a tragedy in three He consoles himself by thinking that he is in a way luckier than words') are charged with the full meaning ol what has gone be- Rafael in having Lucrezia both as his wife and as his model. fore, and they sum up 'the kingdom of Hell'that Andrea experi' Lines 183 - 207 ences. Andrea reminds Lucrdzia that even Michelangelo once GENERAL COMMENTARY piaised him. He (ie Michaelangelo) told Rafael about Andrea thus The poem is a penetrating psychological study of a man who "There is a little man in Florence, who, if he were employed upon has scariried everything for the sake of his wife: but gets nothing such great works as have been given to you, would make you but contempt and infidelity form her. Browning adopts the stream sweat". ln a sudden impulse, Andrea tries to correct the arm in of consciousness technique, as a resull of which we directly con- Farael's portrait; but soon gives it up as he realises that its sout is front the very soul and heart of Andrea as he sadly mediates over beyond him to draw. He, nevertheless, is content to be with Lucrezia his past and present. To begin with, the atmosphere and tone are ll t2 in perfect tune with Andrea,s physical and emotional condition. lt discerned. 々 ,,a "Andrea brooding over the sterility of his life and the is an autumnal evening and common grayness silvers every_ nullity of his prospects, clutches al a straw; he assumes confi- thing". lt is the twilight of the painter,s tife and the end of alt his dence, attributes blame or otherwise seeks peace in finding a rea_ hopes and aspirations. The landscape is gloomy, quiet and deso- son, however untenable, or hope however frail. Only to have each late. As Andrea broods over his love for his beautiful wife, his tri_ confronting thought crumble as he grasp it. Only the disconsolate umph as a craftsman and his failure as an artist, the golden year resignation born of weariness remains,,. He tries to bolster up his he had spent in France, the dishonesty he had practiJed and the sagging ego by reference to the technical mastery, his,kingly days, neglect he had shown to his partners, it gets darker and darker. in France and by quoting Michelangelo,s words about him. At times 'The ringing of the bell, the length of th? convent wall, ,,.;hl;i, .,;e,trs he blames God for his failure (Love, we are in God,s hand.... So to hold the trees together, the departure ― of the last monk and the free we seem, so fettered fast we are!) and at other times mildly ― darkness that envelops - all these reinforce Andrea,s sense of reproaches Lucrezia for recalling him from France, for showing ― desolation and weariness. no The whole nature, including himself, ― interest and encouragement to his works. But then, there are also appears'a twilight piece'to him as he himself ,,autumn ― says, grows, moments when he realises that he himself is at fault. He calls ｌ autumn in everything". him_ self the "weak-eyed bat no sun should tempt,,. His mood ｌ What varies distinguishes Andrea from many other characlers ｉ is from condemnation of others to self pity, there are occasions when his insight into himself. He is ｌ fully aware of himself. He knows the Andrea emerges out of hls lethargy and placidity only to s;nk back ｌ unfaithful nature of his wife and her indifference to him. He ca s with a deeper sense of gloom. His attempt to correct the painting Ｉ himself a bird ,,Fowler's trapped by the pipe', How he wished Ｉ that of Rafael, for instance, is followed by his sad reflection of its futil- "with the same perfect brow, perfect Ｉ and eyes, and more than per_ ity. (Ay, but the soull He's Rafeat, rub it out!) Ｉ fect mouth," she had brought a mind-a mind which could under- The poem also gives expression to Browning,s philosophy Ｉ stand him and insplre him. He knows that she is not interested Ｉ in of life, the core of which is "Ah, but a man,s reach should exceed his art and that she is not ｌ even listening to him (,,what he? Why, his grasp'rotwhat's a heaven for,,. Andrea,s tragedy, as he himself ｌ who but Michael Angelo?). tells us, is his inability to stretch his powers to the utter most. ‥ But He is then such is his nature that he yearns for ,there Ｉ her love not only a low-pulsed forthright craftsman,, while burns a truer only in this world Ｉ but also the wofld hereafter! He has no iltusion light of God' in Rafael or Angeto. about himself. He knows his own weaknesses much ,Go, Ｉ better than The last words of Andrea my love,, as Lucrezia leaves ‥ anyone else. His lack of drive, creative imagination and high ide- him keep Ｊ ,'half to a rendezvous with her lovel are charged with the als make him call himself a man". This self-knowledge makes conflictlng passions of the disappointed man. The verb go', the his condition terrible, for he cannot find solace in ,Love, any self-decep_ possessive pronoun'my'and the noun together express tion or illusion. the awful and bitter burden that Andrea carries, as he resignedly The poem, it is true lacks animation, liveliness and energy. watches her leaving him. As the speaker's thoughls wander, it appears to have no logical Such is the skill of Browning in his dramatic monologues, progression either. But, beneath the seerning aimlessness and still_ that even though only the main character speaks a:rcl reveals his 'tess, a reaurrent resllessness and emoti )nal movelnenl can bl soul, the reiponses of the silant listener are also vivic,y revealeG. ln this por rt l-Jctez:a, though she nev:r. speaks, e nerges fully l-l 14

drawn rn the round. We find her smearing the still wet canvas with THE SCHOLAR G:PSY her robes afloat; she forgets or cares not, what Angelo has said of (MATHEW ARNOLD 1822‐ 1888) , lier husband's talents. She has no love for Andrea and is unfaith- {,;l to him She smiles only for money and in the end hastens to join her lover when the whistle is heard. She is a woman conf ident of her power over men. She is contemptuous'of her husband and BIOGRAPHICAL DETAILS just condescends to sit by his side for a while for the sake of money. Born at Laleham, Middlesex on 24 Dec 1 822 - Son of Dr. Andrea, who is infatuated by her physical beauty, has become her Thomas Arnold, senior master & headmaster since 1828 of the willrng slave, She has no interest in his art either. She is light famous public school at Rugby. hearted, quarrelsome and lacks nobility of mind. (You turn your face, but does it bring your heart? Andrea himself asks her). ln ARNOLD'S FIRST COLLECTIONS OF POEMS fact, she has all the attributes of a female devil and Andrea inad- The strayed reveller and other poems (1849) vertently c-ompares hdr to a serpent and a,fowler. Like Andrea's on Etna and other poems (1852) paintings, she too is perfect in form. ilut like his own art, she also His last volume of poems New poems (1867) lacks soul. Andrea's tragedy is his rnability to escape from her Arnold is also famous for his literary and sociological criti- physical charm, ('let smiles bye mel t ;rvg you more to spend?' He cism Noted works: Essays in criticism (First series 1865, second asks.) Such is the fatal attraction c ; ucrezia that Andrea is not series 1888). lulture and Anarchy (1869). prepared to lose her, even in the ne. rvolld, regardless of conse- Died on 1Sth April 1888 in Liverpool , quences. ' "The SCi slsv Gipsy" was published in poems (1853) For textiral notes rCier: Thomas C.T.Ed. Chaucerto Housman, Vol. ll, B.l. Publica- REFERENCE: tions, 1990. pp 558-5651 lan Jack: Browning's Malo' , r 1. ri! Essay: '750 - 100 words - Approx. 4 pages) Robert ,' rrlg 2. G.D.Chesterton: Bi Commbnt on the quest motive in "" or com- Valerie L Barnish: Brownrng s Poetry 3. ment on the various themes in the "scholar Gipsy" 4. Kenmare: An Area of Darkness ' :. Or 5 Duffian: Amphib'ian view that the poem is really about the poe't and 6. Cohen J: Browning . Examine the 7.. Essays by F.L. Lucas, P rrk Honan, John Bryson and others his generation. Ans: Mathew Arnold was always disturbed by the n . terial mindedness of the victorians. He pleacltrd for a return i :lelle- 'i nism. Arnold yearned for,the cultural anr, aesthetic exce ,ilce of that period, 'The scholar Gipsy'to a certain extent is a cr , .;ism of the state of lethargy and cultural decadence of the Victo ,os. Ar:nold employs many of the conventions 'n "The

|| l5 l6 Scholar Gypsy" The opening stanza is in the form of an address son, The Poetry of Mathew Arnold, 182). by a shepherd to his friend. This shepherd friend tends the sheep Arnold criticises lhe material ways the vict()rian by sub y by day and ,oins the protagonist at night in his search for the Grpsy suggesting that the Scholar Gipsy is one with the Cumnor hi and Scholar. The poet may Je offering an indirect comment on the countryside, a veritable spirit like Lucy Gray. Only pure simple way ol life oI the Victorians in general. There is, in all likelyhood, country folk can see him that too in their most idle and unprofit_ an autobiographical strain too, for ihe poet's shephe rd-friend, his able moments when boys when they are scaling rooks in the wheat own friend, Arthur High Clough, who prematurely died, is touched fields, maidens when they are dancing about the elms, reapers upon. This prompts the poet to pursue the theme ol life, death and when they have left their reaping to bathe in the abandoned lusher. permanence. The quest motive is an offshoot of it. Arnold, in keep- Twilight and the night fall are the best tiines to see him, and the ing with his classical temperament and love of the past,.chooses a best places are those most secret and retired. Often he may be legend linked to the experiences of a seventeenth century Oxlord found close to water, that,mediator between the inanimate and Scholar as delineated by Joseph Glanvill rrr his ,The book, Vanity man', for oxford riders coming home at even see him at the ferry, of Dogmatizing' (166i for ), developing his quest theme. The sev_ but then "they land about thou art seen no more!,, (185) enteenth century Ox{ord student dispirited by the condition o, the The poet stresses the need to be one with the 'Scholar_ society and culture at that time, left the university to ioin a group Gipsy', In fact, seeing the Scholar Gipsy and being the Scholar of gypsies io discover the secret of their lore. The pre- situation Gipsy are a process imperfec y distinguished. Arnold seems to vailing in the Victorian England is similarto that., The poet launches suggest that the quest for,the scholar gipsy, the search for heav_ on a quest for the spirit of the sevenleenth century oxford scholar, enly light and primordial Wisdom, should take place both within which he believes could still be met in the countryside around and outside. ln the poem there is a dual quest: the poet,s quest for Oxford. The quality that movesArnold is the scholar,s single minded the Scholar - Gipsy, and the Scholar-Gipsy,s quest to learn the devotion to his noble aim. This trait is totally absent in the Victo_ secret of the gypsy's art. The gypsy,s art denotes any kind of di_ rian. Hence the symbol of the seventeenth Century Oxford Scholar , ne or natural lore which can be gained not from book but can be provides an opportunity for the poet to draw a comparison be_ acquired intuitively from the bookol nature lnseekingthe Scholar_ tween the 'scholar gipsy' and the Victorian people at large. Glanvill Gypsy, he seeks himself as poet, and he finds himself as poet in provided the cue for this poem. But his love for oxford, the Cumnor the course of writing his pdem. lt is by envi6ioning the Scholar- countryside, and his own youth gave,The scholar gipsy,its real Gypsy, as engaged upon an unending ,,lesf. that the poet brings life. ln this sense also it becomes a return lo the past and search his quest to a successful, if temporary onclusion. for the immortal values; the mysterious sources ol elemental life. The first 130 lines of the poem ib a reverie, by which alone Arnold's letter to his brother, Tom proves this point_ the poet/protagonisuevery man kindled wrth ihat rare heavenly Iight The poet quite imaginatively makes the Scholar Gipsy',the could reach after and perhaps reach at the mysterious sources o, wandering mesmerist". He has a set purpose rloiqg ,,By in s6 wan- immortal knowledge. lt is the poetic way to persuade and prevail dering, the Scholar Gipsy cannot merely seek ,,sick, the spark from upon the people to shun this huny and divided,,world. The heaven but he can also pass before our eyes the natural scenes Scholar Gypsy waits "for the spark frorn heaven! And we.... only with which he is associated" (A Dwight Culler, !maginative Rea_ see "New beginnings, disappointments new',..... The poet exhorts t7 t the Scholar - Gipsy to "tly our paths, our feverish contact fly!" ln of Dogmatizing" (1661). lt is the story of a 17th century Oxford the later half ol the poem (last 120 lines) it becomes a studied scholar disgusted with the decadent state of society and culture al joined criticism on the wanlon ways o, "Victorian materialistic lile. Arnold the time. He left the university and a hand of Gypsies to get makes it explicit by telling the Scholarjcypsy, "Then fly our greet- at the secret of their lore. The Gypsies lor their values of life and ings, fly our speech and smiles!" the life style itself depended solely on nature, intuition, and el- The search for light and knowledge, the desire to merge with emental simplicity. The scholar Gipsy with singie minded devotion the Cumuor hills, the vision of the poet, its repudiation, final as- pursued the search for the secret of the gypsies' lore. At one level sertion and the criticism ol life are-all parts of a larger theme; the it is a search lor finding one's own true self. At anolher level, it is a quest for excellence and immortality. search for values and life forces in the past. Arnold might have used his own youth and experience in Oxford: Oxford shire and Short Questions the Cumnor Hills as source tor "lhe life in nature", especially in the (length 3/4 to 1 page, 150 to 250 words) first part ol the poem ihe reverie the mod ol the Jirst part of the 1. Wite a note on the structure of the poem. "The Scholar'Gypsy". poem may be built on the "Conversation poems" ol Coleridge. The first part of the poem is modelled upon the Romantic Wordsworth's, Lucy Gray and Keats' "Odes" particularly, the Ode dream -vision. lt is very similar to the "conversation poems" of to a Nightingale". For the second part of the poem, from line 131 Coleridge and the great Odes of Keats, especially "the Ode to a onwards, the source is obviously his own harsh experience of the Nightingale". ln this part, Arnold recreates a monumental reality: crass material Victorian world. The eagerness to affect a contrast the vision o, the scholar gypsy; the immortal spirit and ever and between the golden past and decadent present too works as a eyerlasting secret, but in imagination. The poet reads the oft - read source for the avowed Hellenist, Matthew Arnold. But the vision is lled after a while and the poet cries, tale again. 3. The sefting of the poem and pastoral conventians "But what I dream" But Arnold goes on to complete the dialectic of The setting ot the poem is the country side near Oxford. The his complicated situation. under graduate days that Arnold spent at Oxfordshjre, Berkshire ' A closer look reveals five sections. The first three stanzas and the Cumnor range in the company of his late bosom friend, set up the natural scene. ln the next ten stanzas the poet presents and his brother Tom are recaptured. ll is clear the imaginative vision ol the scholar'gipsy. The tollowlng single that the background of the poem "was meant to fix rcmembrance stanza generates the repudiation. ln the succeeding nine stanzas of those delightful wanderings in the Cumnor Hills. "ln keeping the essential validity of the vision is established. Here he adopts a with'unpolluted'surroundings of Oxford as background. the poet method ol contrast based on the senses'understanding. The final introduces the conventions of the pastoral genre. The poet as- two stanzas with the "end - symbol" of the Tyrian - trade!'redepicts sumes the role ol a shepherd and the opening slarlza is addressed the vision with imaginative reason. From the angle of the progres- to a co-shepherd, probably his own late friend, who tends the sheep sion of thought. "lt is the product, first ol the heart and imagina- during the day and joins the poet in his search for the scholar tion, then of the senses and understanding, and finally of the imagi- Gipsy. ln the true pastoral vein the poet tells "No longer leave thy native reason" ( 185). wistful flock unfit, Nor let they bawling fellows rack their throats". 2. The source of the poem, The Scholar'Gipsy. But he wants his 'riend to join him in his quest when "Only the The most important source is Joseph Glanvill'9 ]ff9.t/q1ity t9 20 white sheep are sometimes seen/cross and recross the strips of 3. His mates moon - blanched green". He tells, them, "come shepherd, and again begin the quest!,' 4 The black bird The late reapers beating folded flocks from upland afar the .heaven ro talt (il 116 - 120) live murmur of a summer's day, are reverberatedin full. The creep- 5. But thou possessest...... ers, flowers, August sun and the Oxlord towers set the nature back- .have not (I 157 - j60) ground where alone the spirit of the Scholar-Gipsy could survive 6. And then we suffer...... and roam and the poei could carry on his search. ...wretched days (il 182 - 186) 4. Comment on the end of the poem 7. Still fly, plunge deeper... The later half of the poem, as a whole is devoted lo,'a felt ...Solitude criticism" of the decadent, lethargic ways of living ot the Vlctori- ....shade (|2OZ -212\ ans. The scholar Gipsy otfers an in built contrast to this attitude 8. Then fly our greetings, f|y...... and mode of living, therelore the poet highlights the need tor the ...rrader (il 2gt - 2SZ) scholar ,,sick Gipsy to flee lrom this feverish world of hurry and Obj ec tiv e type Que stio ns divided aims". The poet exhorts - ,,fly ,,The the Scholar Gipsy lo our 1. The main source of the poem, Scholar Gipsy,, greetings, fly our speech and smiles". ln the last two stanzas the is...... (Ans. (b)) poet offers a rational explanation for the flight of the Scholar - a. "The Vanity of Human wishes" Gipsy with concrete historical instances. The phoenicians lrom Tyre b. "The Vanity of Dogmatizing', were the chief traders in the Mediterranean area trom gOO BC to c. "The Vanity Fair,, 700 BC. They were slowly replaced by progressive the Greeks. 2. Another famous elegy composed by Mathew Arnold (Ans. The Tyrian traders were forced to flee lberia by the most aggres- (c)) slve ,,Lycidas',. Greeks. Like that the Scholar also lled to the Gypsies to learn a. "Adonais". b. c. ,, the secret of their lore and ,,Victorian the mysteries of life, for the 3. The Scholar Gipsy was first published in (Ans. (a)) world was too much for him". The loss of ,,New the Mediterranean area a. "Poems" (18S9). b. poems. (1867). c. ',The strayed proved to be a blessing in disguise for the Tyrian trader for he Reveller and other poems,' (.1849). could find some calm in the midst of the dark Gypsies of the lbe_ rian Peninsula ('Spain and Portugal). The same path is persued .,DOVER BEACH" by the Scholar - Gipsy and the poet protagonist too. MATTHEW ARNOLD Probable passages for Annotation "Dover Beach" is probably 1. Go, for they call you...... one of the best short poems of Arnold, composed in all likelihood in j 851, ...... their threats' (lt 1-5) immediately atter his marriage on 1oth June 18S1 2. And near me on . When he spent a few days there. Records show that he also spent .brain (ll 30 -34) a night there in October of the same year while returning from Europe. The poem was pub- 2l 22

lished in "New poems" (1867). moon does not lie fair up on the straits, it "blanches" the land with (For textual Notes please refer "Chaucer to Houseman", ed a ghostly pallor, and the bay is not quiet lor il you listen, You hear. by C.T.Thomas. pp. 566-572) ...... the grating roar -14) Essay (length. Approx. 4 pages. 750 or 1 000 ...... note of sadness in (ll I Critically evaluate the development of thought 'in Dover The poel moves the reader from the illusion of natural beauty Beach'. to the tragic fact oi human experience. ln the second part ol the How does the poet succeed in merging two maior themes poem more or less the same pattern is repeated, but this time he love and melancholy in "Dover Beach"? makes use of human history, not of the natural scene. The sea Or seems to murmur eternally of sadness, but it means dilferently to Commeni on the relevance of "Dover Beach'' to modern man? dilferent people. To in the classical age it spoke in Ans. ln "Dover Beach" Arnold presents the dilemma of mod- humanitive sense off the turbid ebb and llow oI a purely human ern man - loss ot traditional faith in religious dogma and the failure misery. Arnold hears its sorrow over the waning of the Christian 'of the scientific, industrialised society to live up to the belief of faith, in a religrous sense. Sea is used as a symbol indicating the . man humanity's steady progress. The mood of the protagonist be- ebb and llow of faith. "For in a lovely, feminine, protective image comes naiurally melancholic, and the tone inevitably elegiac' of the Sea round earth's shore/Lay the tolds of a bright girdle furl'd, Arnold, quite adept in elegiac vein, with ease transfers it to the following the ancient cosmology of ocean slream. But now lollow- landscape too. A perlect mood is evoked. Disturbing thoughts ing the new cosmology of an open, exposed, precarious universe. steeped in doubts are generated. The loss ol Christian faith, cracks il retreats to the breath/of the night - wind down the vast edges in man's myth of progress, chaos of scientiric discoveries all be- dearlAnd shingles of the world" (40). pet He pithily but poignantly expresses The 'naked shingles ol the world' suggest "the darkling plain". , come the poet's concerns. is far away from, the humanity. ln tact, , the plight ol modern man in "stanzas lrom the Grande Chartreuse" ,n the last section the sea ' "Wandering between two worlds, one dead. the sea has retreated from the world and left us "inland far" but The olher powerless to be born" unable as in Wordsworth's poem. The only means to get over this melancholy is love. Arnold to see the children sport up on the shore. paints the picture of melancholy quite deftly in "Dover Beach" and And hear the mighly waters rolling evermore. interfaces it with the silver lining of love. Even the verse slructure, four parts of unequal length, is ln the opening stanza the poet looks at the French coast controlled by the ebb and flow o, the tide. lt acts as a constant across the narrow straits of Dover from Dover. The scene is metaphor indicating the ebb and flow of thought; hope and de- couched in sinister calm. The sea is calm, the tide its full, the moon spair. The irregular rhyme scheme and unequal distribution of lies fair upon the straits. There is no sign of man except a single stress also suggest the chaotic, confused conditions ol the mod- light which gleans for a moment and then is gone, and the great, ern man. reassuring cliffs of England stand, glimmering and vast' out in the The last stanza of the poem is the keynote o, the Arnoldian tranquil bay. But the poet, the disturbed purveyor, descends and teslament. The poet implores his beloved to be true to one an finds that the sea is not calm there is a "long line of spray", the other. (lt can be extend to every man). "The world which seems/to 23' l:l lie before us like a land of dreams/ So various beautiful, so new Eteach." has really neither joy nor lone nor light: The poet is really pained. The thought development in the poem itselt is closely re- Looking around the speaker finds that everything is shrouded in lated lo the images of sight and sound in it. lt is to be noted that .uncertainty. There is no peace, no help is rendered to alleviate these images are even carefully contrasted and ultimately coa- misery. The human condition is painfully but rightly under scored lesced in order to produce the intended effect. by the poet in. "We are here as on a darkling plain/Swept with ln the Iirst stanza it is predominantly sight images; the.tide confused alarms of struggle and tright/where ignorant armies, clash is full, the moon lies fair, the light gleams, the cliffs.... stand. But ,'calm,, by night. The image of ignorant armies drawn from Thuey dide's even there Arnold employs sounrl images, the sea, the tran- famous accounl of night - battle of Epipolae, puts the intellectual quil" bay. ln lines 9 and 10 he contrasts ',the moon - blanched confusion of the modern age in right perspective. Arnold in his land" with the "the grating roar of pebbles,'(He parfly evokes the vision oi the tragic and alienated condition of man finds a ray of eflect by the very sounds here... gratir.v roar). The,,eternal sad- hope in man's capacity to love one another. ness" is both seen and felt in the constant movemJnt of the waves, which Short Questions (Length j/4 to l page. 150 - 250 worils) Begin, and cease and then again begin. 1. The melancholic atmosphere/The elegiac vein of "Dover With tremulous cadence slow. Beach". Sophocles heard this long ago the poet hears it now, both Matthew Arnold's patent poetic mood is melanchilic and el- saw and heard "the turbid ebb and Jlow of human misery,,. The tide used egiac. The loosening hold of Christianily, the failure ol science to as the controlling metaphor, itself is both vrsual and au- deliver the goods as expected by steadily maintaining the progress ditory. of man. And the general state of confusion make the poet deeply See the contrast The sad. This sadness is well reflected in "Dover Beach" both in its sea of faith (11 -21-28) thought and back ground. The landscape to begin with is seem- ....world Ingly positive- "The tide is full, the moon lies fair". Across the ln the last three lines, And we are...... Clash straights of Dover there is just a glimmer of light indica,. g the by night the images oI sight and sound are merged. presence of man. The poet moves from sight of sound tr, .: ggesl underlining the confused slate of modern man.,,Darkling Plain" almost bli;rds and still sad music ol humanity echoed in the grating roar or I obles one's slght and one's peace is "grated,, by the clash which the waves drarn back and fling. The poet hears the sdd Inusic of "ignorant armies" of the sea. He feels, the crumbling of Christian ,aith, and failure of Objective Questions science of modern man in filling up that vacuum. The result is 1. The coast of Dover has several chalky clitfs.... is one confusion, decadence. Sophocles.heard in the waves oI the Aegean among them seats sadness over the loss of humanism. The proceeding. Sea ol a, Spencer cliff. (b) Milton Cliff (c) Shakespeare Cliff. Ans faith makes Arnold quite sad and melancholic. As a last result he (c) insists, "Ah, love, let us be true/To one another....Ior we are on a 2, The great Greek dramatist referred to by Arnold in ,,Dover darkling plain where ignorant armies clash by night" Beach" to link past and present Comment on the images of sight and sound and in "Dover (a) Euripides (b) Sophectes (c) Aristophanes. Ans: (b) 25 26

3. For ignorant armies'Arnold's Source is..... a) Ovid (b) Herodotus (c) . Ans: (c) GERALD MANLEY HOPKINS For further reading (1844 - 1889 Culler, A Dwight. lmaginative reason. The poetry of Mathew Arnold. Yale Univ. 1966 (For both "the Scholar Gipsy" and Dover Beach) A. INTRODUCTION Roper, Alan Arnold's poetic landscape. Baltimore: Johns Hopkins is victorian by birth, but in his poetic sensibility and Hopkins Univ Press, 1969. technique he is essentially a modern. Drew, P. "Mathew Arnold and the passage of Time". A study Born in stratford, Essex 28 July 1844, Hopkins was edu- of "The Scholar Gipsy and "Thyrsis" The Major Victorian Poets: cated at Highgate school; and Balliolcollege, Oxford. He was par- Reconsiderations. Deds. I Armstrong. London. 1969. ticularly interested in classics . The Oxford Movement affected him. He joined the roman catholic Church in 1966. ln Mar 1866 he took three vital decision to become a priest, to become a Jesuit and to burn his poems. He worked A The Chair Of Greek at University College, Dublin from 1884 till his death in 1889. Right from his young age he proved his mettle as a poet. But from his conversion in 1866, he gave up poetry. However he came back to poetry by writing the celebratdd " wreck of the ， Dentscland" (Winter 1875-76) Probably he felt that his poetic tal-

い‘ ent must be used to glorify God. However, his poems came to

‥ light only when Robert Bridges published them under the title, ｔ Poems of Gerald Hopkins, now first published with notes in 1918 Quickly these poems were noted for their technical virtuosity and innovative qualities. His vocabulary, diction and rhythm are spe- cially praise worthy. They have the unmistakable stamp of origi- nality and boldness. Hopkins in the latter part of his career was probably influenced by Duns Scotus's (Scottish Frunciscan phi- losopher) concept of thinness' (haecceitas) an the idea of whatness' (quidditas) stressed by Thomas Aquinas Hopkins in hii poems tries to comprehend the inward pattern of an object. He termed in 'inscap' perhaps he brought about great changes by making the language very near to the spoken world. Also he employed the traditionalAnglo-Saxon Rhythm; sprung rhythm. ln "The wreck of the Dentschland' he used sprung rhythm from the first time. ln 27 28

sprung Rhythm too as in conventional verse has reet. Every foot rn the air has at least one strongly stressed syllable. Hopkins himself ex- "To Christ our Lord - Dedication plains it as follows. (But it consists) "On scanning by accents or lncidentally, it is the only poem dedicated to Christ by stress alone, Without any account of the number of the number of Hopkins. The opening lines generate a rare vision and set the tone. syllables, so that a foot may be on strong syllable or it may be A rich emphatic vein is slruck. (Letter many light and one slrong' to R.W.Dixon). ln another letter Lines: to Robert Bridges Hopkins makes it clear that'sprung rhythm' is 1. I Caught: Like the falconer catching the falcon or I caught perhaps that musl natural, rhetoric and emphatic of all possible sight of caught brings about the abruptness surprise and happy rhythms. Along with lhe stressed syllable oriented scanning, the triumph of the moving sight. poet also makes use of many cther musical devices compound Minion : darling; creature adieclives, end rhyme, half rhynre, word play, assonance, allitera- 2. Dauphin: heir to the throne (French) tion etc. dapple dawn-drawn Falcon: - Falcon seen in the background Hopkins' poetic career shows three distinct periods; 1) The of the different colours of the down. ll may suggest the Kinship early romantic period.2) the middle period beginning with "The between the dappled dawn and the falcon. The lalcon is motivated Wreck..." highly experimental. 3) The period of the sonnets of deso- in to action by the multi-coloured sky (air) of the enthusiasm. stead- lation; intense in emotion but quite sever and austere in language. ies the air (world) underneath him. 4. Bung upon, the a term related to horse training, lo ring up on the rein make a horse run round a circle with a long rein. .THE WINDHOVER' = lo ln falconry 'ring' suggest spiritual upward movement in the A. INTRODUCTIOIJ air. Wimpling: rippling; the bird in its ecstary seemed to hang up Written at st. Beuno's May 1877. ll is a well-wrought Son- on lts rippling wing. 5-6 As heel a making perfeci sweep round a net. Hopkins considers it as his best poem. The Windhover (Kestrel) the of skate a Kestrel performed swing. is the symbol ol Christ's beauty and tierceness. The perlection of bow shaped curve. The a - bird's llight is synonymous with the perfection and mastery of Christ. 6-7 rebuffed Pushed back The hurl and gliding of the Kestrel pushed back the air (Christ 、 The poet is lhnlled by this rare sight. Probably, every witness'will １ overcame all opposing forces. His disciples / knights too smothere ′ be excrted for tirere is the manifeslation of telrible beauty'in the ― all enemical torces created a calm and steadiness). ― birds breath takrng flight and also in its flawless act of catching ヽ in hiding a) The poet is in hiding watching the bird. ― the prey Part of the meaning is conveyed trough its rhythm and its r ― b) The poet as a priest keeps himself away lrom the natural images ol lrght and movement. This is a sonnetwhich reveals "god's world of Kestrel. grandeur Hopkrns uses Sprung rhythm to great advantage in the that the hidden life of Christet. thrs son n;t c) Hopkins says hiding relers to "set your aflections... not in things on the earth, lor ye are dead, B. Glossar-v for your life is hide with Christ in God" (colossians 3:3) windhovcr. a small hawk: Kestrel found in Europe hover hang 8. Stirred for a bird: The poet's heart yearned lor a bird (per- 29 30

haps the poet's heart yearned for Christ's Second Coming) the ing of beauty and valour the need for self puritication and merging achieve....thing. The poet astonrshment at the bird's masterly per- with god. etc...and the rich imagery, moving rhythm, rare resonant formance. vocabulary make th[ poem worthy of the poet's high estimate. ln 9. Brute beauty... The perfect merging of beauty and ,/alor rn essence the poem is an inspiring account of God's majesty and the bird (Windhover) prompts the poet to deem the bird as a sym- might as reflected in the Windhover, a true disciple of christ him- bol of Christ. self. 10. Buckle: A highly debated word. Still in the context it mr,y The octet of l' )e sonnet is a powerful description of the flight mean. of the Kestrel whe re as the sestet is about the act performed by a) to bring (fastem) together the bird in all its excellence. The poem can be interpreted at b) to engage the enemy three levels. (1) lt can be looked up on as an accurate description c) To lapsing under pressure of the physical act of the Kestrel (Windhover) 2). The falcon is AND is a typographical device used to suggest the poet's associated wilh kinship, authority and power. There fore the bird i" shift from the bird to Christ. can be taken as the symbol of Christ, the king of beings (3) The The Conjuction 'AND' may also suggest the equal impor bird can be looked up on as an emblem of every man or more tance that the poet attaches to the bird & Christ. specilicantly as a true disciple of Christ. Obviously, these three Thee: Christ. layers overlap certainly this metaphor strain enriches ihe mean- O my chevalier. As in the manner of a vassal addressing his ing and relevance of the poem.

huge lord, the poet addresses Christ cheralier - knight. Hopkins dramatic opening of the sonnet. I 12. Sillion (archaicword): the ridge between two furrows of a caught...... Morning's minion fully brings home to the reader the ploughed f ield. distinctive quality of the bird and the excellence of its act. The 13 My dear: address to Christ of George Herbert's poem poei's ioy al being witness of the bird's awe-inspirity flight sparked "Love" with terrible beauty is tinged wilh a sense oI surprise and triumph. 13-141 the blue bleak ember lall they reveal agasholred- The majesty might and perfection of the windhover's flight riding hot gold the air underneath him steady prompts the poet to think ot Cht;st C Essay and his disciples (knights) engaged in crealing a world of beauty, quelling poets joy& Write a critical appreciation ol "The Windhover" .ioy, calm all antagonistic forces. The wonder fully Or are echoed in the lines, High these how- he rung up on the -. rein of a wimpling wing. Do , u agree with Hopkins view that "The Windhover" is his best creation? ln his ecstasy! perlect Or The tracing of the low-bend, its hurl and gliding re- Write a critique on "The Windhover" bulfing the big wind, instill in him a craving rro a bird ( reappear- Answer: ance ol chirst / or disciple of christ) The achieve of the mastery of the thing!" ls certainly emblematic per- ln Hopkins' opinion "The Windhover" is his best poem. The of Christ. The Windhover's * **' merrsffi :3!:i:tjL ccalesc- fect tracing of the circle and the sweep of a ilawless nowbend 12 the e trast behveen the high deals and the earth bound struggles d,Chng and HS dSd口 poem never strikes oriest {Father Schoclei's opinion) The end ol the :I譜 醤譜粘思1』li:TnheЫ 'u 話 隔 *"uw not but it strikes a 'purposeful' note' The times ' No wonder o, it...... gold vermillion 6ring out the battling nature of the faleon and the knight' the essential burden of the Poem' purpose and 'The Windhover ol a declaration of Christian J f*J1ll'1was a triumphant confirmation of poet's personal laith-the p'bt1glY his very existence. I have not only rnade my vows (Den-:o'" t*" t*..ty times about I make them to myself everyday'' nis Ward,""6 180). glory of The natural and spiritual are brought to ring out the same'. A rare ood and to aflirm the poet's (humaity's) faith in the its musical sensinirity, a tiue feel of the language .meta- ioetic in Ihorical sensuous and spritual possibilities are fully exploited lThe windhover". it is heightened spiritual experience' sprung- and rhyil; ;;t;J*ith great efrect to Produce a sense ol wonder is re- a*e Uy ,sn"ring in varied vibrant movements' "EveMhing atmosphere of attv Urouont to iti highest pitch. The light drenched ;;;", thl powertut lignt, tne vigour of the bird's circling-Nature '..atutic quardini: Aes- ,"tg". on s;ff transcendence" (Roman a Col- ineic-fneotogical thoughts on 'The windhovei' Hopkins: P' 77) tection ot critila essays. Ed' Geoffrey H' Hartman' 'The Windhover affirms God's triumph' lncidentally' it also asserts HoPkins Poet's triumPh' D. annotate the following (1) Highthere....bidwind (2\ MYheart...... ""thing wonder'(Dennis Ward,p.177) (3) Brute...... Buckle! (4) AND.....chevalier! (5) No wonder"'''gold =remilion for anno- Note : Every tine in this sonnet is a potential line tation)

CtlP/3031/05/1000/SDE‐ ■ ..]3 f4 (a) E. Attempf a short nole in the imaginary in the poem. experiences) if Shakespeare,s force perforce, (b) Write a brief nole on the tinguistic iacitities in The L t0 Fright ful_ fearfut (First Windhover dralt in Hopkins has Fright fut, sheer down not fathomed) . NO W-OBST, rttEBE tS NONE L12 Durance: endurance; shorl span of life;.force ful tion .,... inven- -4. introduction eriinage coinagb of Hopiness . j..r:: ,:. .:. ,.... _... L13 ,,ryretch an Unfortunate - A sonnet per excellence belonging to the last period or unhappy person of Whirr mind: a pipe-shaped Hopkins poetic career. ll has strong . tall UoOy'ot sir moving forward affinity with Donne,s Holy son_ while.. nets. For No whirting at high speed Worst, There ls None Thou Art indeed just. Lord, C.Essay etc...:are sonnets written with utmost severity and austlrity. Most of the lines a)Write an on this sonnet have firsstress, though freely appreciation of No worst, There is None sprulg b) Write a critique on No worst, There is None, e.g:-Woe worlds sorrow: ,nvil G.M.Hopkins on an age-old wi wee ans sing . always experimented boldly with nis thougnfs ,h: sonnet (like many others and.poetic form. He began poetic . of this period) betrays what his career with a K;;t;ian and St.^. lgnatius calls, deslation Shakespeareian stands for a darkening of ie soul, romantic sensibility. Soon lafter p"r:oo p"- trouble, of mind movements to etic lutl imposed on " bare and earthly tni"ng", ;"sU"s"- his his selt willed religious irr"o'ionl"t n" ness of various agitations and temptations switched on to a period of starting moving to d]sirust, toss, poetic exierlment, tne peaf ot of love, when which ,,The 'in-k""ping the soul feels th,)roughly apathetL, sad, and as it is marked by wreck of the Deuischtanal. were with separated from her creator and Lord, (spiritual Experiences) commitmenr to and confirmarion with (th" d;;;;j;;r;, p""- lirst week, Discermens of Spirits There is sion he embarks on a complex a birat

a鋭 7隆 htt Ыe d h雨 躍1深乱:誌iぶR盪、 前ぼ 聯li群I鯛榊 ♀ ]思 『 」漏:::『 』1瞑翼滉驚 ,1欄 雷;『r:』 1:[1:ξ:1:驚 i[Ⅷ暫罫itttilri背 機 獅藤 ke」 even sensitive peOple cannot h( ohn O Leav hs口 Юd師ぽ認:毬:m:釉T憎 for long. sieep Or death is ёa‖ c there is none ends On a note of 1信∬灘椰 露股鶏ni鳳 I邸 聰 I憂 裔 1出。.J self hoOd,は 撚憮 l b be asan 誂:棚 瓶 :柵‰即棚肥l響 ζ総 ぶ胤 柵器淵L器洸 terrlble∞ m軋 観、:錨∬ :蹴轟写i聞器1服「♀ a natiOnalist and a writer of sOm( ⅥL B.YEATS l. :NTRODuCT:oN 導電[警柵滋螂 簿横i慧欄1羅 Ⅷ hm獣 ま 慰 耀 師 lⅧ 滞 i胤 131奮:ど:阻 ther and bЮ ther were painters His mother be10nged to s‖ go in VVestern ireland,Yeats pOems are replete with reference to this I癬騨椰 locali、 たMuch of his bOyhoOd was spentin London IOndOn and Dub‖ n, Besides the cOuntryside Of sligO shaped his poeticimagi_ 締脇朧躍討蘇 natiOn lt was wh‖ e in London that the came intO cOntact vvith a 淋軋 濡緩穏middle age numberof‖ teraryfigures and art movements,notably Ezra POund ln 1917 the mar百 bd George Hyde Les She was an and imagism;Arthur symons and symb。 lisrn and Tagore and Occcultist and practised autOmatiё Upanisnads He was educated at the Godolphin schOOls in writing Mrs Lees brOught rna‐ Hamersmlth and then atthe Erasnnus smlth schOOlin Dub‖ n He got sOme trainino an antOO He developed an interestin esOtenc be‖efs TheosOphy・ Rosicrucianism,Kaba‖ sm and mysticism a‖ atracted him invaungde9rees His re‖ : giOus beiiefs were summed up in his prOse works iike`A visiOn`and an`Essay On Magic' Yeats'early pOems vverin the romantic traditiOn,influenced 層躙獄Ъ)譜蹂 = 40 39 they think is foOliShly gay Art,according to them,haS nothing dras― SophOCles and hiS`Autography'appearedin 1938 He died on 25 tic tO OfrertO save the rnOdern world from war and tOtal annihila‐ 」anuary 1939 in France Yeats'bestpoems‖ ke`The Second COming'`ninteen Hun‐ 蹴1嚇瑠 'l謡 輛l織勲棚昴識饉 肥 配 :肥温響 1∬ 織 魁 ぶ臓 等 i締 龍 尋 謂 驚 寵肝8:lぼ鶏 ） :::円:認 籠繁▼rl∬黎精綿∬ , ― suous beauty precisiOn and realiSm. LApls LAZULi おし器催rtti:灘Rl出 椛冊l‖釧i誦itict along Can preVent d future war. COlleCtl柵稲 常 ど 滞 ]鯨 Lines 6 t0 8 indiCate that a‖ wars are the Same Modern 灘 職 瀬 野 l 棚 癬轟]螂輔Я忠勒:鵬盟朧器懺 :』Ъ and網∬ユ鰤::I錦皿 count Zeppe‖ n) 遊雷1錦:鰊ξ::∫寧譜pain of hiStOry wlh tragic i叫 stanza 2 1酬 t閥首獅嘲 1雪 電1電漏L u』:躙 酬 hes d卍淵:1計満 :l邸resemblance"Ы Of a mOuntain wlh 鼎 8躙ξ酬器織 駕 11」格鵬 : C md hlS pu酬 Ю dmb 淵剛1脳肥翼誌Ittt覧 『Hλ漁.懺:脚,創rd stone― eternaltheme"m Ofthe sen‐ 「 「 ters Yeats 謡胤I:黙ヽlR品 :%11酬 sualcast The heroiC Cryin the midst of despair But w‖ 鷺|11肇] who break up theirlines to Wee li盟 僣!i継撼掛乳珊: 鼈∬靡服罰T響 )e"onty ofthe East OVerthe West, 辮朦踏 夢 10 the ageing poet's work as both SCenes and heroes lite to their heroes headS''(Note lヽ oW Yeats uSes ima9es frOm the ｀ sramza′ theatre to reinfo「 e theme) The moment oftheirtragedy is the moment 04 thc nalins19ht and consequently of,upreme The comrnon place mOdern reaction tO art iS presented Hys‐ delight E‖ manr (1ヽ Outthalthe moment oftheir actual death iS e thOSe whO are m01Vated by narrow,emo‐ tencal womenぐ the moment ofthlerヽ nqe trtulmphifor death fuseS them tO tleir tional cOnsiderations)have nOthing but contempt for art,whiCh